Phil Collins
Holland-Dozier-Holland, Brian Holland, Lamont Dozier +1
Originally a 1966 hit for The Supremes, Phil Collins reinterpreted the track for his second solo album, Hello, I Must Be Going!. This version achieved massive commercial success, reaching number one in the UK and the top ten in the US by blending 1980s pop production with a faithful tribute to the Holland-Dozier-Holland aesthetic.
The harmony is defined by its propulsion and the use of the iii chord (Dm) as a passing chord to the vi (Gm), which adds a momentary touch of melancholy to an otherwise upbeat major key arrangement. Phil Collins' version replicates the Motown 'Wall of Sound' f…
The song is written as a memory of a mother's advice to her daughter, explaining that love cannot be rushed and requires patience to find that special someone.
“The song's bassline served as an inspiration for Andy Rourke.”
The harmony is defined by its propulsion and the use of the iii chord (Dm) as a passing chord to the vi (Gm), which adds a momentary touch of melancholy to an otherwise upbeat major key arrangement. Phil Collins' version replicates the Motown 'Wall of Sound' formula, where the bass maintains a constant eighth-note rhythm over a straightforward I-IV-I-V framework, while the secondary dominant in the bridge provides the necessary harmonic lift to prevent the repetitive structure from becoming stagnant.
The song is written as a memory of a mother's advice to her daughter, explaining that love cannot be rushed and requires patience to find that special someone.
Originally a 1966 hit for The Supremes, Phil Collins reinterpreted the track for his second solo album, Hello, I Must Be Going!. This version achieved massive commercial success, reaching number one in the UK and the top ten in the US by blending 1980s pop production with a faithful tribute to the Holland-Dozier-Holland aesthetic.
Detailed analysis of this section is not yet available for this song.
Genre
Pop
Era
80s
Mood
Uplifting
Tempo
Upbeat
Key
Major
Texture
Full Band
Sound
Vocal-focused
Feel
Groovy
1.6M
Plays
360K
Listeners
99K
Genius Views
1
Annotations
100%
Popularity
2:53
Duration
4/4
Time
Bridge
Chorus
Verse
Chords Bb ✕ Eb ✕ ✕ Dm ✕ ✕ Gm 3 F C ✕ Bb Eb Dm Gm F C Harmony The harmony is defined by its propulsion and the use of the iii chord (Dm) as a passing chord to the vi (Gm), which adds a momentary touch of melancholy to an otherwise upbeat major key arrangement. Phil Collins' version replicates the Motown 'Wall of Sound' formula, where the bass maintains a constant eighth-note rhythm over a straightforward I-IV-I-V framework, while the secondary dominant in the bridge provides the necessary harmonic lift to prevent the repetitive structure from becoming stagnant. Deep Analysis Available Detailed analysis of this section is not yet available for this song. Notify me when it's ready Request Full Analysis
Chord Diagrams Bb ✕ Eb ✕ ✕ Dm ✕ ✕ Gm 3 F C ✕
Composition The song is written as a memory of a mother's advice to her daughter, explaining that love cannot be rushed and requires patience to find that special someone. Inspiration: The track was inspired by and partially based on the 1950s gospel song '(You Can't Hurry God) He's Right on Time' written by Dorothy Love Coates of the Original Gospel Harmonettes. Recording Studio: Studio 1 at CBS Recording Producer: Phil Collins, Hugh Padgham The song's bassline served as an inspiration for Andy Rourke. While the original version by the Supremes was a Motown signature, Collins re-recorded it 16 years later for his solo album Hello, I Must Be Going!.
Chord Sheet Transpose 0 Capo 0 1 2 3 4 5 6 7 Auto-scroll Print Reset Chords Used Hide functions Bb I T Eb IV P Bb I T Dm iii T Gm vi T Eb IV P F V D Bb I T Progression by Section Bridge Eb IV P Bb I T Eb IV P Gm vi C II D F V D Chorus Bb I T Eb IV P Bb I T Dm iii Gm vi Eb IV P F V D Bb I T Verse Bb I T Eb IV P Bb I T Dm iii Gm vi Eb IV P F V D Bb I T Chord Diagrams Bb ✕ Eb ✕ ✕ Dm ✕ ✕ Gm 3 F C ✕ Harmony Analysis The harmony is defined by its propulsion and the use of the iii chord (Dm) as a passing chord to the vi (Gm), which adds a momentary touch of melancholy to an otherwise upbeat major key arrangement. Phil Collins' version replicates the Motown 'Wall of Sound' formula, where the bass maintains a constant eighth-note rhythm over a straightforward I-IV-I-V framework, while the secondary dominant in the bridge provides the necessary harmonic lift to prevent the repetitive structure from becoming stagnant. Find Tabs & Chords Songsterr Interactive tabs Ultimate Guitar Chords & tabs Cifra Club Chords
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